DISC 1The Complete Original Score01. Main Title (4:12)02. Hyper Sleep (2:46)03. The Landing (4:31)04. The Terrain (2:21)05. The Craft (1:00)06. The Passage (1:49)07. The Skeleton (2:31)08. A New Face (2:34)09. Hanging On (3:39)10. The Lab (1:05)11. Drop Out (0:57)12. Nothing To Say (1:51)13. Cat Nip (1:01)14. Here Kitty (2:08)15. The Shaft (4:30)16. It's A Droid (3:28)17. Parker's Death (1:52)18. The Eggs (2:23)19. Sleepy Alien (1:04)20. To Sleep (1:56)21. The Cupboard (3:05)22. Out The Door (3:13)23. End Title (3:09)Total Time 57:06

The Rescored Alternate Cues24. Main Title (4:11)25. Hyper Sleep (2:46)26. The Terrain (0:58)27. The Skeleton (2:30)28. Hanging On (3:08)29. The Cupboard (3:13)30. Out The Door (3:02)Total Time 19:48Total Disc Time 76:54

DISC 2The Original 1979 Soundtrack Album01. Main Title (3:37)02. The Face Hugger (2:36)03. Breakaway (3:03)04. Acid Test (4:40)05. The Landing (4:31)06. The Droid (4:44)07. The Recovery (2:50)08. The Alien Planet (2:31)09. The Shaft (4:01)10. End Title (3:08)Total Time 35:44

The efforts to restore the complete music for Jerry Goldsmith's Alien reach back to 1989 in London. We were taking a break between recording sessions for Rio Conchos (1964) when Jerry invited me to lunch, one on one. How could I resist?

Jerry's reputation for having little interest in his earlier work was already being challenged. In 1986 I had commissioned his first detailed look backwards with Islands in the Stream (1977) while he was working in Hungary. Now we were in London, spending four days together re-recording another score he'd written many years ago. The myth was further dispelled when he actually began the conversation by asking, 'What should we go back and do next?' Before I could answer he added firmly, '-as long as it isn't Alien.'

Without missing a beat, I asked, 'Why?' After all, so much music had been left out of the picture and the soundtrack album. He simply answered, 'I could never get it down on tape again.' He went on to elaborate how it was probably his most complex score and had taken vast resources in 1979 to record it, including a large orchestra, plus players on serpents, didgeridoos and conch shells. He also used unorthodox recording techniques with an echoplex right on the stage to get unique reverberating sounds from the strings. Add how frustrated he was at having all of that hard work truncated in the final picture and it wasn't hard to see why he didn't want to revisit his score. We went on to other projects and the years passed.

I think now of that lunch eighteen years ago. I ponder sadly at the thought of Jerry Goldsmith passing away before he could see his labors bear fruit. And then I smile, realizing that as long as his incredible music survives and plays forth, Jerry will live forever.